How to Light and Pose Beauty Shots

Lesson 1/1 - How to Light and Pose Beauty Shots

 

How to Light and Pose Beauty Shots

 

Lesson Info

How to Light and Pose Beauty Shots

I've been a makeup artist since about nineteen, ninety eight, so I have been the business for quite a long time, azad make apart I couldn't really build my book the way I saw fit, so I started shooting my own work and it was really great because when I started shooting my own work, I sell my own personality coming through my my style and I open my own studio professionally full time in two thousand for so I've been at this game for ten years, I started off just working on my passion projects things that in aspired me glittery things butterfly wings on then it's our refining and coming down to really being what I like to do is I really love I work mostly editorial work, so getting publishes always my main goal, so I really feel like people who shoot women never take enough risks you're always afraid of two in a tight shot, a beauty shot because there's so much more detail in there a lot. People feel very comfortable doing a full body fashion shot or portrait that have more detail by rea...

lly like when people can't get comfortable really working with the tux tress detailed the skin because I know personally when I work my own business often work with seniors and like seniors who are like sixteen to eighteen years old, they love a beauty shot they looked in their magazines they seem the neutrogena as they look to the mac ads and they loved the way that looks so I love this quote because I love the idea of saying like why not try why not go out on a limb? Because that's where the good stuff is the fruit is I love this quote so ok so my goal every season ideas it published it's always interesting road you never know what's gonna happen but you know when you've had a little magic happen now every shoot has the magic but when it happens it super exciting so these are just some territories I recently worked on that when it happens it's like the best birthday ever it's like a birthday several times a year because I get these beautiful tear sheets all about skin all about texture so what? I want you to really think about today's as I'm lighting things it's really simple I use a one light set up it's not complicated it's not like fifteen lights and assistance it's really easy this is what I do quite often for most of my shoots and what you see in front of me right now are on the screen is I shot that in my front yard in a children's pool that was about this deep I paid five dollars for and then cosmo mexico mexico picked it up for me so it's possible you could do this in your own backyard you can do this what your dog is running circles around you so it's not it's not a big thing like able to think that you should editorial I need a budget honey I don't have a budget I have creativity and I have like a crazy idea of this kiddie pool work she may not fit niche without floating it but her body be somewhat in that pool so I want to keep that in mind I don't let things intimidate you this was also shot in my own backyard this I just literally put pieces of large leaves I literally stolen my neighbor's backyard tape them to the wall and then shot this with direct sunlight so once again I have one big light it's the free natural awesome light in the sky I live in los angeles so for me it's free and they're often so it's easy for me to say ok let's work with this now if I can find a girl who will play with me and say I will look somewhat towards the sun and not complain I'm the happiest talk forever so that's let's this model was fantastic and she was more than happy to just look towards the sun and be blinded temporarily but wasn't it working that right sight all right so and this is one of my favorite tearsheets is money first tear sheet I did recently and this image on this magazine that I found that drugstore which is the most exciting thing everyone you can go to a drugstore and see your work for sale that's when I could do that open it up I love this guy shot this so fast we did five changes in under three hours it was like a crazy, well oiled machine most my editorial shoots run no more than four hours like I think we all get sassy about the four hour mark we're all like hungry and tired stay hydrated anything fast, fast, fast so for me we shot this really quickly the model just nailed every shot she's amazing and I got this great tearsheet so ok, so I really want to cover white balance just briefly white balance could be a full day of conversation with color theory and how you're going to set your camera and the reason I want to talk about this is that everyone does their own way of of setting our cameras. We all have our habits and what we're comfortable doing, but for me I always shoot a certain way and it's the way that I was get my money shots in my beauty shots because I want to always get shots they're really strong I often shoot tethered that my clients can watch the photos pop up in front of them so she had a cosmetic campaign they're watching the images on a giant screen like this the entire time, so I have to shoot everything correct in camera I can't say so by the way, this is going to she's not going to look like a smurf in like an hour I'll correct dallas and polishes and look great has looked right in the camera, so the first shot that I'm showing is ah white balance photo this is actually like to use this's my color chucker x right I use is often for cosmetic shoots because I can actually tell my computer what tones are which second exactly set my white balance but it's much more trouble something a little more time? I'm super lazy like I don't want to do too much once I get home, so I will use this when I have to have colors exact I can also dio on old school, which is the case of the first image I do they accustom white balance with a great card so this is my great car to carry with me. I can't do this in my pocket suits like kerry pocket my purse in my awesome little trust I consider what my pocket and to accustom white balance here, so instead of setting your white balance on auto, I'm telling my camera what about a sixteen to eighteen percent grey would be on then my camera understands what whites, grays and blacks are, and their colors will be stronger and more accurate once again, this is another task to go through when I usually shoot and I have a job and working a passion project, an editorial I'm just going to shoot a very special way, I think, because there's less issues using my technique with white balancing. If you use auto, it can be so inconsistent when you're shooting and you're using your auto. If you are just not, say, natural ambient light, a few point point your your lens tours a shady spot, it's going to read that color in the shade and the temperature there, and then it's going to keep on switching so even notice when you've shot a large set of photos every once and allow that the offender? This doesn't feel right guys it's so cool it's, because you're trusting your camera to make that decision and it's not a human. If it's a small computer that doesn't know you're grumpy and unhappy with the color, you can swear as much you want to add it, and it doesn't understand that it's getting iran so I want tio always push my friend this is the way I shoot this is the image I actually shot in camera see how warm it is? Skin tones look stronger when they're warmer. Like if you have an image like this you see more than imperfections in her skin you see more of her pores your clients are looking at the back in your camera and I think all those little issues you're going don't worry might go into post and fix this clique that it's great but the problem is they immediately want to feel comfortable and happy so if they can see that warm skin tone implacable while good now you might go home that I never wanted that warm now so this is why I'm going to introduce you to my friend calvin my friend calvin is awesome he's very accurate he's always reliable. So okay so this is the color spectrum of how light is red now basically it's a little it's almost like thinking about when you learn about using f stop it's almost the opposite like you know when you're using talking about aperture the larger the aperture the smaller the number so first you like doing the math all the time? Same thing with white balance so I look at white balance your shade is about seven thousand k and have to go down the warmer the white gets now this is my happy zone the six thousand or cheating on your cameras cloudy that's my happy zone skin generally looks good right about six thousand on this five thousand k so I keep my camera set right around that zone, I'm going to get those warm skin tones on my clinton and go I look amazing and let me show you how it really is different so here is the same image and I let my camera that this is how my camera but the image naturally my camera body forty six fifty k for a proper white balance use you can see it's kind of cool it's kind of there's a lot of blue town to it I see a lot of texture the highlights look kind of blew it just not my style. Now I may be your style that I love the play when that's that's totally me, then go for it but for me I'm always thinking about skin I'm going to look for the warmer shots, so here is my happy zone and see how she looks gold and she looks like she's gone on vacation somewhere she looks like she's just health glowy now eight thousand k was me much warmer. So remember on this last chart that we looked at that had this so I'm in six thousand it's reading blue light it's going to compensate so the higher the number the warmer your image is going to because it's compensating for the cool of the light so we are working also with strobes and a studio or even out side stroked are consistent blue, white on average, most strobes are white balance to fifty, five hundred k, so I'm not keeping that in consideration like I actually know my grab, my strove it's immensely around fifty five hundred k will be part of it would be actually this look to an image that would be about fifty, five hundred with a stroke. Now I want it warmer more that I need a bump up that number again, so of course I'm going to go to about six thousand sixty two hundred and then my skin tones are beautiful because they're warm and they're happy and you don't see all those little blemishes, and now I mean, of course I work with girls who have amazing skin are naturally blessed, so it's like you don't have to worry too much. I worked with normal clients, they're constantly nit picking every photo, and the last thing I want them to do is be insecure, like I really noticed. I asked him, really she's shot it's showing up and blue is going to bring out rose a shot blues going to bring out more of those red tones in the skin. So and think about it how often you think I love looking red that's a good thing you don't know one does so think about your clients and really think about how they want to see their skin I'm going to shoot today I'm shooting on six thousand k to start I'll show you how that looks and kind of go from there so that's, why my happy zone I'm sticking with it okay second thing I like to be really organized my shoots if I'm going to shoot five looks in four hours we're on machine I can't like so I'm inspires let's do something just crazy we don't have time for crazy like things could happen crazy wrong when you just go with ideas so I usually have my debate ideas written out so for today this is what I provided for my my actual mood board or my look sheet so the two looks we're doing today I love this first shot that I found amazing photographer and I love because she's really fresh she's really clean and so that was kind of my inspiration I love that she liked doing skin and she had a flushed lip and her skin was just the gorgeous and her hair is pulled back I like hair being pulled back that's one less thing to deal with it was hair like mine down like you just deal with it hair and the phase and attached a lip gloss and I can get the hair back it's a good thing and then we're going to bring some rings into that shot on this second look, we're going transition to really quickly it's going to be a changed look we're just like a really relieve bold sparkly left we're using a really cool product that's just the decals so the makeup artists can switch out my look in like five minutes and give me a totally different, much more glam me looking look so I'm working with a senior girl I could say the first one to really clean really pretty really smiley and her mom going to be stoked because she's been so that's my daughter you've got her in that shot when I did the glitter lips logo that's that's my daughter you know it's a different thing the daughter is going to love the glitter let the mom's going to love the pretty clean, glowy, natural teenage girl. So ok, so what can I get started? I might bring over our models of anna all right, come on over me have you stand behind here? So ok, so the first thing I'm doing is with a I'm doing this is an eye lighter from westcott it's basically bounces like back up under the model's face and also wiped the eye so what I can do it but I have her looks straightforward at me right now I could see the cove reflection from this reflector and her eyes right now so it really kind of opens up guys that brightens up her eyes also if you kind of even from the side you can see when she's looking straight forward when I have this down lower you see more of this shadow honoring her face when I bring this up you can actually see the white kind of bounced up there and kind of fill it in so I want to fill in a little bit I don't want too much light underneath there if I shoot with lights really flat and taking with all those shadows I think I'm taking away everything that makes a face dynamic faces are shaped by light and shadow so I have a shoot soft box softbook soft box office bucks I mean the big square light around her she's going to lose everything that makes her face interesting and I always say this in this ridiculous but my space and face book angles were created for a reason you know women like when our faces are shaved so you're like the shadow in my house always makes my chin look amazing you want to do that for your clients right like how do they feel most comfortable or this people that can you shoot me were shooting diet needs my angle well it's everyone's anghel sister I get it I want a light them so that they have that beautiful look to their faces that they love so much so I'm going take this gorgeous I lighter name a start with a just a strobe I shoot a combination of strobe and also natural light I kind of you pick my poison based on what kind of light that I want I love being a strobe shooter bone because I can control my light all the time doesn't matter where I go my life is controlled and if you shoot natural light I'm sure you understand there are days you just cannot shoot you're like ok I live in utah its nose like mine once a year and this guy's great so natural light what are you going to do about you bring on a stroke and you could do something great things with trump you can bounce a light so it's more natural you could put it to you directly on no honest right now I have a modified soft box I like this because it's super easy and it's like a cheating thing to do which I appreciate most beauty dishes that you shoot with for beauty are solid metal pieces and they were hard to travel with if you travel on planes they never come back as a circle they always turn into like a rectangle or triangle so I like this is this is actually a soft box that we turn this bad boy off uh such a soft box that I keep I don't want the light to be too harsh mail also don't want to be too white white soft boxes give a softer light I like like pout light I want contrast I want to rama my images so I want that silver liner in there and then we put a little deflect or plate in the inside and that makes a light bounce off the back of this umbrella and wrap around the face so give them more directional light that way but it really makes the light on her face kind of paint the right areas will hit more herb brow her upper cheekbones her bottom her little have a beautiful highlight so I like that versus being I had a soft box I could put all the diffusion on this I think that came with this bad boy if I did that it would be so soft and I would only do that if she had like atrocious skin and she had her charges going back soft bucks off bucks diffusion okay baby let's do this but because she's has amazing skin and I want to show everything I'm like I'm gonna make this little more harsh I'm also known for shooting bare bulb where I was doing a bulb with the reflector that comes with it and just putting on my model and it sounds frightening, but it works like that shot with the girl with the leaves that was natural sunlight no diffusion, no holding something behind me same thing with the strobe if I had to wreck white on my model with that stroke it would be the same thing, so with this I don't use a beauty dish and slight her face beautifully so I'm going to bring this bad boy up now I white in a simple way I believe that white should always be a forty five degree angle because the golden hour works for us and natural light outdoors because the sun is on the horizon right about there and it just warms up the sky and it warms out light and as it goes down because they're going we have to shoot faster we're living that life I want this to be my sunshine this is my free sunshine that can bring everywhere can I could be in alaska with all dark and this is my sunshine so I'm going to take my light and kind of place it in a forty five degree angle and then just really kind of bring this puppy up make sure tom first before you go all the way up there yeah, alright hello there all right so and uh little usually do is like I always just make sure my soft boxes square because I'm anal retentive and then this is the way I would was photographed her I will be either right behind the box or in front I'm not blocking the like that's being above me and I'm actually a rather tall woman so it's not a big deal like if you're if you're even shorter than more power to you you have less headspace block in this bad boy so when I look at her face right now is well but it's even I have a little bit a little bit of shadow said there we go so I'm just making sure that light is properly lighting her entire face I want her face to have white all the way around versus having a shadow on one side I want to be barely even though the great thing is because this light has the modeling lie on it I can see like what you see is what you get where the light is hitting right now is what's going to happen when it strobes when you hit your stride that's going tio go back and forth so mulling light strip mining rights troop whatever you're seeing is what it is you're actually going to get your camera so okay, so I'm also I'm a light meter user I'm a major advocate super old school but this provides me with total accuracy I just keep on gasoline now I'm pretty good at knowing my lighting knox have done this point eight thousand years, but when you are with a client, you don't want to go I think this is what we need right now I have a beauty client who's getting ross from makes a lot of clients who do skin care who just want raw photos, so I have to give my disk and go, ok, thank you. They can go by the way they might be over exposed my son corrections on that I need to make sure that the photos are done right? So by using this, I'm going to set my eyes so today at one one twenty fifth, I usually shoot at one one twenty fifth because if I move or my model moves, the odds of it being blurry will be very slim. I also shoot like an aperture, usually about after nine eleven, which is actually really abnormal for a lot of people have noticed um it's eleven and I'm doing I just kind of going through her t zone. I want to make sure this consistency of light if my life is not in the right spot, she might be hotter down here that out there she might have a white hunter one side, so I make sure her face is really consistent as I'm hitting my meter and checking this out it looks like right now I'm right at ground of levin's I'm gonna shoot it eleven the reason I shoot at this f stop is if I go lower I can play even get away with five six but I I open up the aperture more and the number is more like a two eight of one age five six four you're losing more of that duct the field of her face so if she has gorgeous hair down I don't want to lose those hairs back here because this is in focus and this isn't I wanted to be all sharp and if you look in magazines and you look at me like make up ads and hair adds it's always tack sharp it's because we're blasting them with light so that we have every option of getting everything in focus that's why the sun is awesome and that's why these air awesome because as you know, there are days that you know insecure model in direct sun at one pm goes you're like this is breaking me out and if you go ok I will put you this shade I'll open up to two a and let's be beautiful and you get that beautiful don't feel it's all buttery but her hair right back here is this blurred and sometimes your client will understand why are things are blurry the why's my background larry why is my hair blurry but your face is amazing ray they don't understand that sometimes you really want to think about how do you want your clients to be seen and that's why I always do this for senior portrait's for if I'm doing a boudoir always to a few shots like this so that my client goes on like I've never seen a shot like this before I'm like because it's it's just it's so simple it was a white backed up behind her there's no other white on her and it just her one light so let's give this a tribe so I um recently I found that I am loved shooting center balance for focusing on also shoot a lot of landscapes the reason I showed a lot of landscape for beauty is that people can always crop a landscape into a portrait but you really can't do the opposite they're more you go into like a landscape from a portrait you're losing area if I'm shooting her the image really tight if I have to go into a landscape from a portrait I'm going to be cutting her right here this will be like an interesting shot might be a little artistic someone might like it but I want to make sure I give my editors the most possible so I do a landscape this can turn to a two page spread where they have text off to the side so I'll dio always focus on the eye and beautiful all right, so what we're going to do she's really naturally good with her her lips like she's really she's a model she knows what she's doing some girls will come into your studio and not have a clue like with women think like looking look confident and pretty is being ridiculous like you go I want to be confident like zoo lander it's like blue steel what are you going on right now? Your face looks so intense I'm always looking for more of a soft shot so like I I'm looking her right now and if she keeps her mouth close like it is right now because you might be like nervous or like what's going to happen her lips and hold a lot attention so I usually just have also relax your lips relax your lips and this is the easy thing that here and densely let their mouth so relax your lips and they kind of look appeal open a little bit but they're not like fully open they're not like overly sexualized they're just pretty soft come in and lips so okay, well, you straighten up your head a little bit don't you relax your shoulders? Oh yeah looking back I'm thinking all right, I want you to know just give me a kind of a soft lips and I want you to think about someone who actually makes you really happy some who gets ology great jokes whoever it is in your life that simply what about your it could be your dog I was honestly think it's always a dog it's always it's never the boyfriends always like my dog I don't like your dog tells jokes that's awesome flawed billion dog all right so I want to think about that person and focus on I'm recompose all right so white now this is how I'm set for color all right? So as you can see right now it's a really it's a warm image by rather have these highlights look more warm and here than that blue color because once that blue comes it's I buy right now go into my white balance and say ok, I'm going to say senate where I think it would naturally be this is about fifty, two hundred right now this is the difference of how the image with luck go straight on for me beautiful chin up a little bit gorgeous ok, so this is shot with more of the blue town so when I look at this next image you can just see it's a little bit cooler the white islam or true but the skin just looks less healthy to me and clients will really notice that difference and it's just a small change in your calvin but like and just do is take all these photos and post and I can do a white balance is a batch of I used I used adobe camera raw. I could see the entire batch white balance and start from the probably white balance. But I want to initially have my clients go away look good like tan. I look healthy like totally let's keep let's keep on doing this. So ok, I wanted to I'm working with this, so you're only working with shoulders. I'm having her wear a tank top for this reason. So I want you to kind of bring up a shoulder for me and let's actually return to the side more and roll up this front shoulder for me. Kind of bring your down your chin a little bit beautiful and relaxed. A little gorgeous. Have you looked right up at the light? Actually, let's look right above my noggin right here. Beautiful. No, I always find spots for my models to look at and I'd just say, look up, they will look up at the sky or the ceiling and it's super creepy like no one wants to see a bunch of whites in the eyes and they instantly do like whoa it's pretty strange if I say I want you to look up here and actually point or if I have something on this, you know look at this ridiculous thing I have one of their if you have an assistant or a friend that you can say look at my friend who is a fool over there dancing it's great because you have them something to look at if he wants in the smile have your assistant or front doing a little jig for you the worse they dance the better which is a common thing in my friendship circle we're all not very good at that kind of like being awesome so if you have things to have them look at it's great so I want you to kind of let's bring your arm in the shoulder so fingers people always want bring fingers and the shots and it's always interesting because they wanted tio like their hands will be way too tight if you just say hey, I want you to put once you just put your hands on your shoulders someone's girls with little cup their shoulder so I have to show them like I want you to shake it off so let's say you're good with your hands let's just do this shake off your hands, relax him and want to lightly touch of your fingertips and kind of just travel and just beautiful what happens? Why haven't move into a position with their hands? It looks more natural by just they put your hand on your arm it's always this like claw action, you know? Are they giving like a swedish massage? I'm like no, I wanted to be soft. I want to be pretty it's I always I will do the same thing because monkey see monkey dio if you tell him somebody in front of you, I want you to lift up your arm and you look off your right arm they're going to do the mirrored action so they won't do the right on they'll do their left mirroring what you're doing so I can say, I want you to do this, I know it feel silly, but if you want a girl to kind of bring your shoulder forward, I want to do this. They'll do that, but why were you spring your folders? Shoulder forward? I want to you just a look like like your soft and like, I want to give me a little come hither stare the like they're so confused, I need to see what you're doing so I know you feel ridiculous. I would never do this in my own life like I'm holocene, but if I can show what I'm looking for it's so much easier. So all right, so here's, we're going to some ring work because I got these fabulous rings or dior inspired I love things like this because if I have someone who's awkward if you give them a proper something it takes their mind off so much stuff suddenly they're thinking about the weight of the rings on their fingers that thinking about how specially they are there's so many things that go to their minds it's great because you're getting more of a great feeling like a fashion looked here of images but in the meantime you're distracting them so it's like a two in one so ok, so she has all perfect yes so she's also pulling off fingers all right, so I'm gonna have you I want you to kind of take your hand and I want you to do some posing so I want to just come soft hands yes ok, so have you can't bring your elbow out for me though perfect I don't want elbows in my shots they do not photograph well we have dry elbows there was a different texture it's a pain to go in post and make it happy um so yeah, I always like to have it so their hands just softer elbow there out what matters for me so I'm shooting right here what's around her does not matter I don't care if she's wearing fuzzy slippers, pajama pants no one sees it she could be comfortable keep everything out of my shot so beautiful relax her lip records the love it now, what's great about shooting with strokes as well. I'm shooting with the mono light model let's require a certain rotation to recharge the I guess would be the transistor that makes that the light pop so I can't shoot too fast if I'm like like like like like like my life's not going to keep up with me, it needs about four seconds to recharge, but what it allows and allows me to have more time to recompose maybe she can adjust something if I find this spraying and pray non stop my photos were going to be different. All right, beautiful elbow out from a place gorgeous look right above my head. Beautiful that's great in your eyes to me bring your hand up with the two brings up to conscience area oh, I love that beautiful so what? She is doing everything to repeat every shot she's re composing her shot so she hears my my shutter and she's going to change it up. So she clearly has done this before, but sometimes you'll have plants were like, I don't know what any syrians also, every time I'll turn on on my my actual white, I can switch it so there's a little beep. So whenever it's charged and ready to shoot again there'll be a audible beat so every time the model here the beep I'm like ok, I want you to switch it out but I want big changes usually want to keep it in the zone of where I'm shooting so I'll say ok, I want you to be just kind of move but don't over think it is that they start thinking you actually see the gear is turn like what next? What should I do next? So I want to make sure just keeps really consistent with its beautiful perfect and you can see him actually rather close to her but uh I'd rather be closer to her versus having seventy two hundred luns something I'll have my seventy two two hundred lens on and it's this big old giant lunch and I'm way back here and it's great but I'm so detached from my fat like I know I make we're going underneath the sauce box she can barely see me and were like communicating through like hand signals and smoke signal so yeah, I want to make sure that we're kind of right up here so that she's seen my expressions and I can actually go okay shoulder up if I make them like shoulder up so let's do a few more let's do I wanted to be really symmetrical no women love to use their hands on their faces and that's when you have to avoid the claw hand because the claw hanka looks so spooky it's like, you know it's attacking them from behind it has to be like control they can't be like if it's coming from behind and grabbing someone like a vaudevillian cain it's coming out and pulling that's a horrible shots I want them to take their hands most often and I wanted to do really symmetrical kind of looks on their face but the more hands you have the face, the more you to really think about cemetery so if she's going to do two hands on her face I want you to kind of maybe turn this way didn't kind of look towards him I have her just have a ok let's I want you to just put your hands on your face just randomly yeah, I'm alone perfect I love you for that people often go to the home alone immediately it's so weird like no one's like yeah, that works like until you're about twelve years old on that at that point it's just like kind of creepy. So yeah, a lot of girls would do that and knowing ok because they want to think about their hands doing the same thing so I'm always going to look for there had their fingers and to be symmetrical but there has to be some asymmetry in the placement of their hands so she does it very naturally the last several shots you can see they're all asymmetrical yea but okay, I want you to now let's take your hands do you want your fingers were gonna parted around your eye perfect so if she doesn't like that and once you relax your pinky a little bit perfect I need to make sure that her fingers are parted properly if I have a gore under hand just like this it's just so awkward you have all these fingers kind just sticking out of nowhere I need to make sure it's soft so I'm going to kind of just soften it up a little bit relax that pinky now I have kind of warm or even separation of fingers and that just looks stronger an image some always looking at those details I want to make sure because if we're gonna have glittery blinking things in a shot they have to look right they can't just be randomly in the shop because those are big gaudy rings they can't just like their their their side wait I don't know if they have to be the star of this show and really put her together because her images are coming so strong she's so has a pretty face but the rings like man it just give me a key shot so much it looks straightforward wanted to really give me that beautiful relax this pinky we'll just do one finger first I want to bring your finger more on your brow beautiful really relax now what I want to also in post production the first thing I would do is take her pony tail you can see how it's hanging on the side I would insulate clip of that pony steps I love the idea just having a smooth back so I'm shooting when I see a little bit peeking out to the side and that's totally okay because all it takes a little bit of a cologne brush in there and it's gone so uh but yeah I love the idea no I want you to kind of your middle finger I want you to let it go a little bit likes more forward almost touching that your nose and I'll show you the difference so here she has her fingers looking a little bit more soft right here it's more relaxed and let your ring finger can't touch the ideal it's perfect now I really I want you to think about ah girl you cannot stand who just bothers you and the minute you know what you think about her and I want to give me this look relax your lip beautiful okay? I wanted more attitude for her if she's going to command my attention it can't be soft pretty girl has to have a little bit more there she haas off pretty there she's thinking about that girl now I didn't say I want to be fierce and that does nothing for me anymore like the girls go like they're all attitude and I'm like I want to last like ghetto girl and more like her and it is these are all terms we all have different terminology so I need them to understand like if you bring something really into there like their idea who they give me that moment I want to be the girl who just like that of a girl and everyone has someone it's them versus some one I don't care who you are but someone you like that person there's something irritating they will bring emotion out of you so always I'm always verbalizing what I'm looking for because I can show her how to pose so much but if our faces not doing what it needs to d'oh, you have to get a shot like this is a gorgeous shot her agent would love this shot this fingers or soft her she's a great expression she's just very focused and it took one thing look a thing about a girl who do not like and think there it is so okay, so what we're gonna do is I'm missing a few more shots and they're gonna go on toward second look goro that's beautiful, perfect and likes here's a good example of how I like what you just write on again I have her like this and have it turns the side again a little bit to side honestly why I think the first constant stronger well I like her straight on because there's a lot going on the shape of her hands on us shape so my eyes had travel around her face I feel the details when she's turned to the side it's pretty and she's like looking down it's nice but my eyes don't travel as much I think it's held less of a story and I want my image do more commanding I rather have my models and she's great with this I rather have my models look strong and confident then fame like my pretty like you know the old victoria secret commercial like tell me I'm pretty I don't want those girls in my shots I want the girls what I know that I'm pretty because I have a different attitudes of girls coming kind of like insulin doing this like coy head down thing and I mean ok I want you to think about how I should be so lucky to shoot you you are I am made amazing twenty minutes of your time because all of their head grows migo okay I can do that and have a different attitude and she's just really comfort you can tell she's confident but I don't have to go I want to be called a dent she's going to be confident so that's great. So I'm gonna have her switch out. I mean, have you had that lip added in? I mean, change my lady configuration he still went through? Yeah, I'm like, I know what's happening she take all those rings and I forgot what? Because that's what I would do all right, so there's something confederation going to dio is just one of my go to we're going to change the backdrop so that it's just a lot more bling. So this is kind of what I do with my clients when I have a little bit of a lot of time like I am shooting three looks for client and I want to do the first two fast, fast, fast I'll usually go outside my first shot natural light, no configurations that up you shoot it's done one done second, one white background could be a white wall in your house, your studio anywhere you choose one with it's, a white wall or great wall or some kind of simple wall second shot done takes about fifteen minutes and then I take my thought box off and then I'm going to dio I'm going to rotate my light and I'm going to use a parabolic umbrella I like the parabolic umbrella because a parabolic is first of all super impressive people see a parabolic umbrella in your studio and they go who? A real photo shoot if they see a couple of fellas are excited but they see that that wal mart in the portrait studio you know, but if they see the big giant umbrella that is so impressive they're going to go. I've seen as a music videos and literally I've heard the cohen and the noise of happened they will get very excited, so this is the umbrella and talking about go over the son it is a seven foot umbrella throw some light on the minute they see this like and it's really cool once the light goes on in this light reflect on it, it's all cool, then it makes you feel very glamorous, like a photo shoot first being like what you're thinkin so I love the idea that this immediately we walk in, they are stoked like they are into it already, so I'm going to take this and I'm tired of this bad boy and feed it in teo and dancer and all my stuff it into my light. Handa yeah it's, it's just a really great way of throwing off the light and the great thing about this umbrellas well, when you have a light large large light source that's not diffused and also diffuse lights do this as well, but and the minute I have a lightly fifth it's so large it's going to give me a shadow list light so a shadow list light I can be a bit more free to be kind of crazy of the configurations but the way I'm going have our pose we're gonna have her stand has my entire area is lit so once again forty five degree angle for me just like that it's moving behind me you get a little bit closer to here but a hundred bucks you're on in please curiosity how much would that be? The light source okay, so the light like it depends you know all different countries have different point price points but the umbrellas run about one hundred so there are nice reasonable modifier like it's not like I want to get this it's eight hundred dollars so just don't pay your rent for a month and that no it's it's a really cheap way of doing that and you can get strobes like this strobe runs and I don't think about two fifty or three hundred you can get strobes all the way down to like one eighty brand is that this is westcott. I used that what this is what scott strobe light plus that runs about four hundred watts so it's a mid range strobe says not gonna blast your clients with white the point their like again see, but it's it's a nice like if you have a decent sized space or even small space gives you enough light which mama likes so came I throw in this model in light you can see once I hit that light how that kind of warms up and doesn't it feel instantly glam, her excitement hollywood on that's my legs when I come into my studio, I always have it on even I'm not using it like an hour because I think it's just so awesome I'm like someone taking some photos today and they can't get their eyes off of that so and if you're shooting several people, it covers the entire area, so I'm not going to use my I later for this I don't want to bounce anymore light up interviews, she has so much light coming from the seven foot span of light I don't need to find more light sources and bounce it more up I just want to use one easy light and that uses bad boys and put this over the sod and okay and for this let's look, I'm using this like hall the mermaid backdrop, nothing screams they get more than this but it's a really cool right and it has this great texture to it I thought this has a very large sequence that's going to really capture that light and really give that beautiful sparkly great feeling to have him little sequence it be less glamorous to me the diggers secret than sequin them or that wow, just like that so that's one parent is together while factors well factors so ok, so I take this light and I put it directly above me again if the directional light I'm not looking for shadows and that looking to give her set of them inside the face or do something darker and I'm anything during the fact that this has black and white this is going to be kind of blocking some way off the wall it was all white would be bouncing white off this wallace well, but sometimes you have to choose your battles and say my battles that's half and half I'm cool with that I'm totally fine I want you to think about don't be intimidated by not having the right space to shoot in I shoot this in my living room I live in a small house in los angeles my living room is probably no bigger than two hundred square feet wait this is leaned against my feeling bending then like we are shooting beautiful fashion today I want this light to be my number one source if I could go through so many changes with this one light and make it work let me have it right above me and who love it and I'm going to use myself as my own model right now to test my life now because when I was using that soft box before the light had less distribution so it was more direct like you got so much more light, more more bang for your buck for that one little reflectors was released isolated it's just sweeping a lightness small span now with this large man's going so much whiter I need to turn up my stroke so it gives him more light because it's going to be diffused and more put out around me I choose the silver once again we all have a white parabolic on set today but the thing is is that the white is going to give me a softer light and I like skins look really, poppy I want to see all the tones all the textures everything that you love about scan so that's what I'm looking for okay, I'm going just I'm gonna have our stand about two feet off the backdrop that I have her and me yes oh oh you know having a good time yeah absolutely you hear you know you can't just like never mind if you wanted you a bread left you for about lips sympathy right there just your word lip not a victim you never know with fashion and beauty there's always you always in a plan b always that's my plan d always goto a rug lip because with my red lip it simply says something that's like strength it you have to be baldy to wear around lap so I go into a shot like this with a bold lip she's going to be a different person if you put out a girl and soft pretty makeup she's going to go oh she's been telling me that person her shot you give a ride, she's going to have more that like love of a boom personality that's why go for? But, honey, make it happen. Ok, so I'm going to now take this it's reading at thirteen after ten, thirteen, ten second see the lights going a little more to my left side right now and sixteen okay, I'm going to turn my well a little bit farther to the left because it's dishing out around the edges. So when I read my meter and see that it's reading right on this side eleven and this side is thirteen clearly it's brighter on this side. So I want to make sure that my life's a little more proportionate and because umbrella, sometimes they'll be a little lopsided. After these look like they've been shipped and you put them in studios and throwing them someone really quickly so you want to be done with your shoe they won't be perfectly round anywhere so that would be ob long and that's when you have to really that's why I like this but I know that I can go ok the light stronger on that site will move it there there were good sale I mean look at this right now eleven where I want to be so that's a great transition and because I'm also using the same light I don't have to white balance again I don't have to change anything that exact same bulb triggering from the light if I were to d'oh a total change or even maybe even a soft box I might want to dio a different white balance was a soft bustle throw different white light in general so who have you come back over all right so I'm gonna have you stand right here for me yes love it good read all right so what I'm looking to dio is now she has this red lip it's has a different story I want her to be much more aggressive but these shots because if she's just a pretty girl in red lipstick it just looks so awkward and what's with the first time you see a teenage girl right and red lips taking like kind of weird like she's just looks so weird like you could just tell she that you see him in color on and she's trying I want to make sure she's like I'm rocking this looks so this is why I want her to be that I know I'm pretty girl so I want you really give me a great posture almost be like you'll be lifted up from your back beautiful want to relax your lip and I want to let's first you little over the shoulders are really kind of turn your body I really want you red carpet kind of fell bring your shoulders up to your chin beautiful up and bring her ponytail now ladies can get away with this much easier than men ladies congar oh, and just move hair and go hands and justice and usually they're ok if you're a dude, ask for permission first because girls would instantly get super weirded out by it if you're going in and moving ponytails and stuff, so I moved it back so I don't see it as much I really want you took once you can relax your lip, you know, bring your eyes like right here from a perfect kind of rotate your shoulders, so when were you your other shoulder? Bring it this way, roll it forward for me when you're pointing back, bring this one down so I do know, however, her role, her shoulders because you'll see the difference so now she's right over her shoulder right there. Relax your lip perfect and you can see by this shot the difference of her just changing her shoulders totally changes the way her poses so it's just a different strength of shot. So just by having her move her shoulders a little bit, it gives me just a very different look. So I want you to kind of look white over towards the edge of the umbrella, actually a little more, and we'll do that first. This is what I'm looking for when I had a little too far over over this abs look right there for me. This is why I instantly changed it. This reads someone's coming in the room and I'm freaking out, right? The next one you'll see look in her eye, someone coming in. So you want to make sure you don't have people looking too far over if you just say I want to look over to the left and when you have someone look over to the right girls will look so spooked out. They can't help it and look how many whites I see there and the more white feisty in the eye, the more I have to work on the I have to take care of any blood shot, eyes or areas because she had makeup done. We've had makeup done, there's always something with the eye, so I'd rather have it when she's looking more direct, doing more attention to my camera I want you to kind of take your hand and just going that beautiful let's get rid of those rings. She kind of health issue but I need the that my heinie I wanted them look it's intentional like it wants to be with you like that. So I'm taking off the ring from last time because this with a red lips and a gold background would be a big vomiting explosion of sparkle it's just too much, you know, they always look in the mirror and take off one item. This is the three items I have to go. They got three. You have to go right now so always keep your eyes also, we always have ponytail holders on her wrists. So london first thing I look at a girl's too is do they have a ponytail holder on their wrist? Because you will miss that for half a shoot then when you notice that you like your heart thanks to your stomach we've ever had to take that out of a shot. It is the toughest nothing ever like you want to cry you're like this you need arms the show I could make it dropped always the words so always look for a wrist it's like the might like my arch nemesis while it's my friend and using my hair I'm looking you have one we always have one it's like you go to so yeah, I always chuck that that's why I looked and saw she had the rings on the I gotta go I felt one lately cut your shoulders and I really want you to really think about it think about that girl he said you couldn't do you think about how you couldn't stand? I'm thinking about a situation and you feel really redeeming the story of frank could tell you they think that's good, I love that that's good story what you really think about that and open up your lips a little bit relax on beautiful closure with just a little bit beautiful I rather have girls have clips, they're relaxed that open, we tend to have our lips when they're open they can be almost too open when there's too much teeth showing it can be like I want to be soft so beautiful now I want you to think about what is your dog's name? Mia mia what kind of dog is your dog? She's happy on sec slepian creation okay I'm asking this for several reasons um I a dog person not really however I want to know what her dogs or dog clearly makes her happy I want to get a smiling shot of her being radiant I can still give me a radiant glowy shot she's nto that's very portrait like senior portrait in nineteen ninety two I want hit look at she's already like you're right too so I think about I say I want to think about mia is me I do anything absolutely crazy like when she was sure she won't thing yeah there's a lot of crazy it's just given you have time so I want her to think about me up because I want that rials shot I want her to have a real smile so I want you to think about when mia runs to your place and she's like one big ball of crazies so ok I think you saw that women laugh in two ways we laughed like this when we left I want the big laugh our shoulders roll back uncontrollably it comes out of us like it's a different entity it's like it's like ghost busters but come about I want that in my models I want them to have and they can't control that I she visually thought of mia with her fluffy for running she left because she does new is going to be like it's a visual that makes her happy and I don't know it's gonna make her happy it doesn't work so if you go and say that tell me like a dog for your cat to have kids to have a boyfriend I go through the entire list if they have nothing I put away the camera only if check out sometimes no we'll have anything in common but I really want to find something commonality so I always like I know that dog like the champions air sea and they're happy and they're funny that's great that's more ridiculous for her to think about if they have a cat bring it on tell your cat's lazy of course they are let's take a picture of you think about your cat being lazy you know like oh what does he do that so dumb? He does this it's great and then she's going to have more of a relatable story for me and I can keep him referencing that story to get that reaction out of her so you have a boyfriend no no good for you know boyfriends are also always a source of tomfoolery so if you can say to me about your boyfriend um I like then the stories start and then you can really laugh and if they don't I go and I think a lot of us do this I reference stories from my own life my favorite stories I tell that's just so bizarre but it's great my first with los angeles we were sitting on the sofa and I always move my feet when I'm sitting down and my husband looked at me weird and I looked at my husband because I thought he had started on the couch had moved and he that I was cricketing my feet moving them so he was like stop christina like that was you buddy it was an earthquake wear both like back in court like e and then finally I was like are you ok? I'm like adam's part is so I don't know but now it was really funny most women go my husband my boy from one time we did this they have a story the more you disclose that being creepy but the more you disclose, the more your clients feel obligated to disclose back and then you can start breaking down those barriers of not knowing somebody if you've never had this lens in your face, it is the toughest thing ever and if you haven't have your head shots taken very soon you will hate every moments of it you will be like just we've done can take ten shots just get ten all it is one good one but by being in front of that lens you'll understand what's like to be her in front of your own lens what kind of direction did you need what did you want? The person who is taking your photo to say to you is the whole time you like just give me something here I don't know what a deal so ask questions as you go on I always rather talk more of my client and take twenty fabulous shots then shoot two hundred that I have to edit store on a hard drive go through call it's too much work I just want to go okay that's great she's smiling she we've gotten to know each other over the last two days were cool now you know she's seen me without makeup like goodbye right mutual so yeah we're cool now it's so much easier to get those shots and those clients will then also tell their friends and especially girls run her age well also instagram they'll talk about their experience with you because it was so fun oh my god it was so fun because we talked about ridiculous stuff and I and so I just got my photos and go hello come into my studio would you like some tea? Great they're going go this is great okay, my photos are great, but the experience wasn't as good. I want them to have fun because the more they talk about how fun it was, the better I'm going to have more clientele. I have more money coming in have pretty your shot so ok, I want you know, let's do some heavy hand stuff shake off your hands a little worm. All right, I want you to take your hand kind of heavily put over beautiful and bring about a little bit more kind of slipped beautiful. The reason I did the changes when she brought it up, her arm was right here and that's too much flush going on right here. I want to see more. I wanted to feel in more of my frame. The more I can fill in that negative space in my composition, the better so I could have her arm bring out a little bit and kind of relax or hand it kind of just frames the photo differently. So I went to that really think about that girl. Oh my goodness, if looks could kill, she just changed in front of me. There was great, but once again we're talking she's comfortable and you're how often and I think we also is, how often have you been talking the minute you bring up that lens, their faces and then you're like down it's like happy sad happy sad I want to keep on bringing their expressions if I can just tell me what that girl look about that girl and sometimes if you can get them to tell the story who it is oh my goodness yes she she clearly she clearly has that gir and her so so yeah that's what I'm looking for as faras but I have to keep mice mice opposes released strong because she's never my best shot today you have this kind of set it has to be a really strong shot now let's just let's show the difference is I want to just kind of stands just kind of relax and it's kind of sweet and think about your me a puppy was being happy just kinda cute ok beautiful okay so here's our shot this is just a shot of her being her when we're talking and so when she has this look that's sweet but look at the difference with that backdrop you kind of need some personality he kind of needs something going on I can't just be standing there and it's it's really tough so much of a girl who comes on set and she is so much personally the minute she gets in front of you she's a different girl and that's when you have two let's talk it out house is talking stuff that I need to figure out who you are you know and you get some personality and if you can get a girl being like telling a story then you've got it the story awesome so I always bring up that actor so let's do strength because I want you to really kind of bring your shoulders up rule them forward beautiful so when I had a role her shoulders forward it gives me a different composition because you can see when this pops that her shoulder might be enrolled forward give me much more of an attitude she kind of popped out her hips different she's constanza from her legs her holdout empire body reads a different way, so I need to make sure that I'm giving her a direction if she's going to be strong symmetrical arms on her waist it has to be really strong a girl can't stand in front of you for a shot to achieve its beauty or even fashion like this it's just like oh my god first of all stuck it in honey just looks awkward but she for instance, shoulders forward until you change her legs, bruises and across a little bitch thank you feel attitude it's only a stronger shock I don't care what she's doing so much on here just right here all in caring about so that's why I'm looking looking for in general if you guys have any questions likely is just like asking me something I know I go through this so fast sometimes but yeah, I really want to make sure that her strength comes through those images because it's just like don't you want to make sure the person that comes through and your client will appreciate it more too? I've had clients who have said we've shot the same girl for times for campaign we've never seen her like this before and I'm like that's I think it's a compliment I'm not gonna ask any further like look into it but they usually that they wouldn't mention it otherwise plays wow she's so she's amazing today but it's not like that day she's a new person and she's just changed overnight it's the way you bring that personality forward into your clients so yeah I want to make sure that like I'm like give me some aggressive look I want you to think about being strong so I want you to just once you can relax really be soft lacks his shoulders so it's going to look to the soft shot again just kind of pretty if I do this if I do this and then and I do the next one I want to really think about how I'm no I look up right now I really give me a little attitude let your mouth kind of gave me a little attitude too really almost giving me some more things with that girl was squint a little bit like really beautiful this is the difference once against the first shots really pretty it's great for an agency agency would say I love the shocks that looks like her it's straightforward thiss is just more of a shot that she's just giving a little more attitude and see also see how her body is kind of curved by having an arm out and have anything kind of round it fills in more in my composition I don't feel like there's a whole area around her I could crop out if she feels on more on my frame that's what I'm looking for about we're going to shoot this shot and send it to a actual magazine I just put it more off to the side they can feel that gold area what text then they're going to love that shot so yeah myself from being behind are being shot by my friends right? Like I feel like when you're getting shot you could be all these emotions come up because you're insecure and yeah, you're like a lot of times will be in photo shoots and baby crying before the shoot and it just we all just tryinto a mess absolutely so how do you how do you how do you deal with that or I can work with that and that's what I talked about a little yesterday I really insist on and really consider this find a great makeup artist find a great team, a support team for you because it's not about just having a pretty face I mean perfect makeup when that girls in your studio in the makeup chair what's going to happen is I'm going to actually see her personality the makeup chair because when she's talking that makeup artist she's going to be herself and there were chatting where'd you go high school I went there to my god it's crazy mr so and so so there are such a weirdo, you know? And we're going back and forth and I'm no longer a stranger once again this is just a black hole they're looking at and they have to know who's behind that camera, so I just have some coming by studio and I'm like you guys in forty five and go away and then all of us when she's ready to shoot it's so awkward she needs to know who I am and I need to know who her she has been so commemorate a shoot we're friends, we have reference, we can go back and forth and there's always out here who you are, where you're from there's something even if you're both women hey, we're both women crazy, right like there has to be something you could relate on and then you need that time because if you have five minutes like us and I work with celebrities and get five minutes with them and it's the most painful thing of her because even celebrities have days they just don't feel on there like I look ok does the script look ok? How should I stand there? They're women they're just like us they're just the whole time we're going to help I look ok help my smart mice not books smaller I hope this my hair looks ok not fuzzy so the whole time I have to go you look great, okay let's do this I was beautiful and you know you're always constantly on a beautiful it's a pretty and you listen to yourself and go I found so ridiculed on a little parrot but it really is a positive reinforcement so don't be afraid to really get to know your clients because it really makes that really strange relationship different and the photos will be different as well. So I mean yeah, and if you don't find a makeup artist confined if you're in the middle of montana learned is you make up it's easy once you get a hang of it and then you have your own hands on that client and the whole time you're right and each other's personal space and you are friends, so yeah it's always a great option than you it's a win win win all around in general, so I think we are kind of wrapping up here, so I'm going tio just do a few more things now in my studio, I would not be shooting her with the straps I'm doing stops today, it is the right thing to do, but in my studio, there would be no stuff I like just shoulders, so I also usually instruct and I keep I always keeping emerge in the bag with me of, like, stuff I might need that lip cloth powder, a brush off you're working for me, it was like you, like, keep, like tampons with you and stuff because stuff happens and you don't let your client being filled super insecure because, oh, my god, like this has happened. I wasn't expecting this. You like, no problem here's my bag of awesomeness, you know? I mean, like, how that's great. I don't want anything that happens to throw us off our game, so I also keep a strapless top because girls wife, we forgot that I'm like, don't we have? And it's really obnoxious? I got a wal mart. It was three dollars on the clearance rack. It's a tube top from like the nineties it's covered with sequins, it's ridiculous, but it does the job. And we left the entire time about it because I make all these weird comments about it like it looks like a disco ball it's ridiculous but once again it helps the clients feel more comfortable with me that everything is about being super high and look out if you've ever had this happen but you so much jim goes the store's high end stores and when you walk in it's like pretty woman and they like always like some water and it makes me so incredibly awkward on the target shopper like you don't need to do this for me I'll just look at the rack myself it's so awkward for me to have a kind of service that so in my face I just want to be comfortable so I want to make sure they come to my studio is that me conflate doting and making him feel so out of the new normal is when we kiss your drinks have say let's let's talk and that's really fun and I usually come back from my sugar dude that was awesome having to the photos yet I know it was awesome because we laughed we had fun the whole time that girl looks in the mirror and goes like this the whole bunch and takes pictures for instagram together and stuff so it makes it so much easier so really quickly I'm into you roll your shoulders forward don't you take your hand kind of behind I don't want to shoot the palm of her hands palms from your icky that back of the hands are pretty palm's read blue purpose what? Actually bring your hand right here from a palm forward you have a sweet tattoo I had none of that is that that was like a pleasant surprise ok, so I take the shot she is first there's so much hand in the shot it's like what's going on second wait to see how her wrist you see every vein in artery in her breast we all have that if you're dehydrated it's ten times worse so if I have the girls consulate doing this you see all that blue and orange and were coloring in your photos like I have to microbes look at every photo ideo I see that all that green and blue and purple like me but I have to get through and jason helium brush and go a little bit by bit and do that if I just have her simply turn around the other direction it gives me looks to them beautiful relax your fingers there we go I have to do this it's less blocking it's going to have less of that purple and orange and weirdness and it's also yet the palm's reads so orange and weird sometimes so this is just a stronger even though I'm like the shot's a little bit deer in headlights on that one I loved it back to her hand is softer in it and there's less work for me to deal with with different discoloration so let's do this again it's really think about like that girl boy bull's eyes even better how did you don't tell me the sooner way could have an hour long talk all right so there we go so yeah and I like this because once again it's not blocking her base I don't mind a little shadow on her face I think kind of frames or face an interesting way I always do and this is what happens with all women we don't like our arms no care who you are we don't like arms so the first thing I would do is just make sure her I crop it so it's tighter into her face maybe just see the edge of the arm but not the full arms in slaves they're going go I see a lot of arm going on in that shot I don't want them not like a shot because of the arm science it'll just crop it in post before I show that image so yeah that's why we insulate do with that shot ok so let's dio one right now I want you to kind of take your arm and bring it across like this and kind of really bound for one lecture lips and you could actually little closer for this once you look off camera towards another camera a lot of cameras all right this would be right called like like like my dreamy shot so this is more a little more aggressive a little more in my face in this one but this for me it's it's like a softer kind of feelings is looking off camera I have a relaxed philip again so let's do one first don't relax your lip this kind of keep closed no relax it and sometimes there's all kinds of weird tricks some people think lightly blow out some people will say sake who are there's weird words you can say so funny try it you think your lips from this little pretty little circle but so weird but I can't get them to like do the relaxed flip they have to say coup sorry gotta happen but so this is the difference so now her lip is a little relaxed here by having it slightly open it relaxes the jaw when I have a lip that's really tight that joe hold so much tension and it's so stressful so I really want to make sure that I come flea watch her lip no also even notice I'm shooting really tight some shooting beauty the great month cds I only need a certain area surrounding her with backdrop so that's why I'm not concerned by the fact that this is a stretchy this's, a fabric I bought for dresses it's like four yards address fabrics if you pull it this way, it's going to be springy would be actually rather fun to play with, so by not concerned about that because no one I'm not shooting like this like how you do it was the great job don't be afraid to zoom and that's a number one thing I see with my clients who are doing coaching with me they're shooting like this all the time the thing with this is that then they have to work with this crop zone crop out the icky springing spot around it and it's just so awkward to have that much space of the body she do so much more their body to fill in that frame and not about my factor but about her so I want to shoot tighter and I also don't want to always show what I'm doing behind the scenes sometimes my shots are so ridiculous the shot with leaves the background the girl was standing there my rabbit was running circles around her feet at the moment so it's glamorous it's cosmo it's a rabbit running circles so if you had all about illusion we do a lot of it is like a source everything this is my wand I want them to feel like their photos look how amazing that says if you like okay, listen, I'm gonna crap out that shot I'm going do it just differently the whole time they're gonna go I can't whatever like how would even dio I want them to inflict ok like this is what our shots are going to look like so much look right about my head and once again what's great about this one is shooting at eleven I can also focus on her I can focus on her cheek in books on her anything in the plane of her face it's almost that's and focus the shot will be in focus if I was shooting to a to be much more in depth of where I'm focusing I can kind of shoot just really fast and that worry about absolute vocal sounds the question you know make how are you ready? Yeah, absolutely on please rome at me are you ready to wrap up our let's have lunch with some questions for sure. All right. If anyone has any questions in the studio I will get there. I just wanted to double check with you. Are you always shooting below the models? I line sometimes it is their different situations where you wouldn't do that well, it depends most the time unless the models were about the same height if they are way taller, I always have a step stool with me which I often leave in random places when I also try tio really compose a shot if we're straight on she could look right into my lens I feel it's a better attention if she has looked down or up at me I feel like it's a little more dramatic or different so I really do I'd like to be more straight on so luckily unfortunately because sometimes models are like six foot seven I'm like, ok, I'm like the big big stairs, you know? But sometimes they're just they're just the right height so for me I also keep different shoes around with mates I can look at my client go okay need heals ok any flats where my chuck taylors you know, I need to make sure I'm wearing the right shoes to feel come from my client so all right, I'm going to you want to dance? All right? It's friendly great. All right, we'll take some questions. Okay? So juliana vasquez had asked, would you ask a makeup artist to do a test trial on the shoot to see if you are a match with each other? Absolutely no one is always perfect for you until you test them you could look at someone's portfolio and be like she's amazing this is going to be the bomb I cannot wait for this to happen and then they show up and she's a diva and it throws off your entire mojo the entire shoot because you're just not clicking and I've had it happen a million times ing literally, I think that was great, but this is not a good fit for me, and you have to remember it's what the overall experience? So I don't care if you make her look like one hundred million dollars if the whole time you're saying awkward things to the girl or yours really cold on your phone is a makeup artist it's just sad, you know? So yeah, I definitely always text them first, and also styles can be different. Sometimes some makeup artist will be heavier handed, they'll be much more glamour. I'm always looking for soft, pretty makeup, so definitely I want to ask him questions and haven't come in and see how we click and if we click on it like it's like hearts above my head for him with a cartoon thinking long and you guys miss yesterday, according to class on d I y makeup for photographers, so you don't really check that out only. And then julianna also had a second part. Your question, how do you find a great makeup artists okay, says a million ways there are making forthe everywhere at this point there really are that you're looking at instagram everyone has started to make up now and some people are very skilled on somewhere not so I want no matter where you're at there someone around who is interested in doing makeup or husband were doing makeup and looking to build a portfolio so that's what's best when you can find someone to team up with you because and you build a team and you have a certain signature style you're delivering to your client so I mean, luckily I'm in a city that there's an over abundance and they come to my doorstep but when you're in a smaller market sometimes you go out there go to salons most girls who are against long to do makeup with love to get some great shots of our makeup they usually just worked with bride to go thank you and then pay and leave they never see the images they never see how their makeup photographs so it's a really easy way of finding people was going to slant talk to your friends I mean small towns have a million different ways to find a rake up are so just kind of be creative, okay, cool so there were a lot of questions about the white balance, the segment and that was in the beginning of this segment the congress set is just clarification question yeah so you set the white balance of six thousand and then you showed it to your client and then you switch back to your custom white balance is that what you don't times yeah, so what happens is that I shoot it warm I just know always around six thousand and it's always up to some of me always on the way up to seven thousand or just down to like fifty five but I can just know whatever looks good on the screen at that moment what I want to show and if I get home go I just feel like it's too warm then I'll do a white balance correction and post, which is usually the case because how often have you found that these screens are liar, liar pants on fire like it's all the time you're like you lied in me I can't trust you and that's what happens in light balances the same way so I can't explain to my plans every time like I promise it will be prettier and warmer in post they don't understand he's won immediate happiness, you know? So yeah, I just want to make sure that that moment they're comfortable with me all right? Awesome thank you lisa kelly wanted to know where can we get the eye lighter? Who so that's also westcott product so yeah, this is great because it's one large product he's sticking a white stand and you can light your client could also put a couple clients in front of it and they're all going to get a highlight that kind of rolls around the bottom of their iris so it kind of gives you a pretty catch light so that's a new product that was that was just coming out with right now, which is fabulous but also you can also take go sure craft store goto hobby lobby go somewhere go to michael's and it's good bye a silver piece of foam core for like three dollars and just throw it on a table in front of you and just the same thing so if you want to be d y I and have like that kind of stuff going on this you can do that so I have a question a lot like as women I don't know if you gentlemen know this but we learn more about each other in an elevator ride than probably husbands even know about us in the elevator you know what I mean that's just the way we are as women. So I'm wondering do you think that it really benefits you to be a beauty and glamour shooter with women as a woman? Oh absolutely and how do you feel for men to have the same report for women and things like that when I ask us all the time being in l a being a commercial photographer I'm in the minority being a woman so most of my models are like it's so nice a sheet with a girl is so different now when people tell me how it's different because I'm super curious to know what your experience has been well I can tell the guys is just be personable don't be creepy guys get intimate by pretty girls and the creep factor whether they know it's happening or not it occurs and the girls gets holy weirded out by it and if it's a new model shuns ago he was kind of we anyone stop staring at me but because he's probably thinking about the lighting but the girls reads it differently because we have different body language we have different interpersonal communication between women and men so if you're a guy be more chill just just try to make it so that once again you're like hey cool we're going to hang versus being like hello pretty girl come into my studio relax this it's got to be laid back creepily creep me out the way pro thank you so much courtney it's such a pleasure better so you have just been an absolute delight of yours barkley personality I love to hear that yeah and take no it's man just to be yourself with your clients it's number one thing I tell you to dio just be yourself don't be afraid to be goofy. I'm a total weirdo nerd. I'll talk about x files, like two hours. Be yourself. Your clients will appreciate it.

Class Description

Clients love the feeling of a photo shoot, especially when it feels like an magazine editorial. In this class, Courtney Dailey will help you create that feeling in your studio by sharing some of her favorite beauty photography tricks. Courtney will share her preferred beauty lighting set-ups, creative tricks and posing directives. You’ll learn how to direct your clients with confidence and ease.

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